ROMANTIC MOVEMENT FROM 1760 TO THE PRESENT DAY

98, ROBERT NORMAN SHAW I STORES AND INN AT THE BEDFORD PARK GARDEN SUBURB,
CHISWICK, 1878.
bolder than any Europe did at the same time—or should one say
Europe with the exception of Philip Webb in England e Webb
(1830-1915) liked plain brick walls, and introduced into them the
plain slender windows of the William and Mary and Queen Anne
period, remaining nevertheless in sympathy with the sturdy honest
building traditions of the Gothic and Tudor styles. The Red
House at Bexley Heath, near London, his first work, designed for
(and with) Morris in 1859 shows already a combination of pointed
arches and long segment-headed sash windows.
The picturesque possibilities of a mixture of motifs derived from
widdydifferentstylesweremorereadnyt^kenupbyRichardNorman
Shaw (1831-1912), He had a much lighter touch, a quicker imagina-
tion, but a less disoiminating taste. In a professional career extending
over more than forty years he never ceased to try the contemporary
appeal of new period styles. Thus he went in for half-timbered
Tudor country houses, then for the many-gabled brick architecture
of the Dutch Renaissance, then for a very restrained Neo-Queen
Anne, or rather Neo-William and Mary, and finally joined in the
pompous Edwardian Imperial. He enjoyed, however, nothing more
than playing with motifs of different centuries (fig. 98). By com-
bining a few Tudor and a few 17th-century motifs with others of his
own invention, he achieved a lightness and animation that makes
Morris designs appear gloomy.
Norman Shaw's influence on the architectural profession was
immediate and very widespread. A generation of architects came
from his studio to whom he left the freedom of following Morris's
ideas, while following his own forms. They and some closer disciples
of Morris founded the Arts and Crafts Movement, Once one knows
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